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Iconicities of Immersion After Voices of the Rainforest

Iconicities of Immersion After Voices of the Rainforest The Asia Pacific Journal of Anthropology, 2021 Vol. 22, Nos. 2–3, pp. 235–240, https://doi.org/10.1080/14442213.2021.1906550 Iconicities of Immersion After Voices of the Rainforest Lisa Stefanoff Noise-cancelling headphones dampen my kids’ garden-play yells and fade the rev of motorbikes on the red dirt track across the road. I tune out the final sibilant spinning of the clothes washer and the skeins of summer afternoon desert birdsong, and I listen again to the 11 interlaced tracks of Voice of the Rainforest, the endlessly won- derful Feld-Kaluli/Bosavi day-in-the-lifeworld opus, first published as a Rykodisc CD in 1991, played this time from its 2019 masterfully re-mixed super hi-fidelity ‘Concert CD’ re-release. The work occupies a shimmering place in my umwelt of perduring affecting presences—intellectual, aesthetic and pivotal. It’s a crack in everything, where (to pinch half an image from L. Cohen), the sound of the light gets in. Voices is a forest for remote listening-alongside and listening-through an ethno- graphic engagement, shaped by the wondrously dynamic Kaluli aesthetic dulugu ganalan (identified by Steve Feld and Bambi Schieffelin for European audiences and glossed in English as ‘lift-up-over-sounding’). As an edited set of uniquely spa- tialised recordings, it unfolds as a sonic experience of ‘inside night,’‘morning http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Asia Pacific Journal of Anthropology Taylor & Francis

Iconicities of Immersion After Voices of the Rainforest

The Asia Pacific Journal of Anthropology , Volume 22 (2-3): 6 – May 27, 2021

Iconicities of Immersion After Voices of the Rainforest

Abstract

The Asia Pacific Journal of Anthropology, 2021 Vol. 22, Nos. 2–3, pp. 235–240, https://doi.org/10.1080/14442213.2021.1906550 Iconicities of Immersion After Voices of the Rainforest Lisa Stefanoff Noise-cancelling headphones dampen my kids’ garden-play yells and fade the rev of motorbikes on the red dirt track across the road. I tune out the final sibilant spinning of the clothes washer and the skeins of summer afternoon desert birdsong, and I listen again to the...
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Publisher
Taylor & Francis
Copyright
© 2021 The Australian National University
ISSN
1740-9314
eISSN
1444-2213
DOI
10.1080/14442213.2021.1906550
Publisher site
See Article on Publisher Site

Abstract

The Asia Pacific Journal of Anthropology, 2021 Vol. 22, Nos. 2–3, pp. 235–240, https://doi.org/10.1080/14442213.2021.1906550 Iconicities of Immersion After Voices of the Rainforest Lisa Stefanoff Noise-cancelling headphones dampen my kids’ garden-play yells and fade the rev of motorbikes on the red dirt track across the road. I tune out the final sibilant spinning of the clothes washer and the skeins of summer afternoon desert birdsong, and I listen again to the 11 interlaced tracks of Voice of the Rainforest, the endlessly won- derful Feld-Kaluli/Bosavi day-in-the-lifeworld opus, first published as a Rykodisc CD in 1991, played this time from its 2019 masterfully re-mixed super hi-fidelity ‘Concert CD’ re-release. The work occupies a shimmering place in my umwelt of perduring affecting presences—intellectual, aesthetic and pivotal. It’s a crack in everything, where (to pinch half an image from L. Cohen), the sound of the light gets in. Voices is a forest for remote listening-alongside and listening-through an ethno- graphic engagement, shaped by the wondrously dynamic Kaluli aesthetic dulugu ganalan (identified by Steve Feld and Bambi Schieffelin for European audiences and glossed in English as ‘lift-up-over-sounding’). As an edited set of uniquely spa- tialised recordings, it unfolds as a sonic experience of ‘inside night,’‘morning

Journal

The Asia Pacific Journal of AnthropologyTaylor & Francis

Published: May 27, 2021

References